대전(大田)의 앉은굿 무가(巫歌)는 신석봉 법사와 송선자 보살의 독경(讀經)으로 대표된다. 기존 연구에 의하면 신석봉 법사의 독경은 메나리토리로, 송선자 보살의 독경은 이른바 북부경토리로 간주되었다. 하지만 실제 신석봉 법사와 송선자 보살의 독경은 이와 같은 기존 연구결과와는 다른 음악특징을 갖는 것을 확인할 수 있다. 두 사람의 독경음악은 모두 메나리토리가 강하면서 동시에 육자배기토리의 특징을 가지고 있다. 그러므로 대전지역 독경의 음악특징에 대한 근본적 재론이 이루어질 수밖에 없는 것이다.
There are two shaman masters of anjŭn'gut 앉은굿, literally meaning the seating rites of shaman, shaman sculptures chanting called tokkyŏng 讀經, Sin Sŏk-pong 신석봉 and Song Sŏn-ja 송선자, who hold the title of Taejŏn 大田(Daejeon) Metropolitan Intangible Cultural Property. The music of them has been regarded as the menari t’ori 메나리토리(musical style of Kyŏngsang province), and the anjŭn'gut musical and cultural range of Taejŏn has been considerd as a part of menari t’ori range. Besides, Song Sŏn-ja's music of shamanist chants has been regarded as the northern kyŏngt’ori 京토리(musical style of Seoul). However, the actual characteristics of their music of chanting sculptures are different from the arguments of previous research reports. They have the musical features of yukchabaegi t’ori 육자배기토리(musical style of Chŏlla province) as well as menari t’ori, though the features of menari t’ori are superior to those of yukchabaegi t’ori. Therefore, it is obviously false that the anjŭn'gut musical and cultural range of Taejŏn has been considerd as a part of menari t’ori range, and Song Sŏn-ja's music of shamanist chants has been regarded as the northern kyŏngt’ori. The false arguments of previous research reports was based upon false transcriptions of melodies and rhythms. It is inevitable that we should rethink the musical charac- teristics of shamanist sculptures chanting in anjŭn-kut of Taejŏn.
There are two shaman masters of anjŭn'gut 앉은굿, literally meaning the seating rites of shaman, shaman sculptures chanting called tokkyŏng 讀經, Sin Sŏk-pong 신석봉 and Song Sŏn-ja 송선자, who hold the title of Taejŏn 大田(Daejeon) Metropolitan Intangible Cultural Property. The music of them has been regarded as the menari t’ori 메나리토리(musical style of Kyŏngsang province), and the anjŭn'gut musical and cultural range of Taejŏn has been considerd as a part of menari t’ori range. Besides, Song Sŏn-ja's music of shamanist chants has been regarded as the northern kyŏngt’ori 京토리(musical style of Seoul). However, the actual characteristics of their music of chanting sculptures are different from the arguments of previous research reports. They have the musical features of yukchabaegi t’ori 육자배기토리(musical style of Chŏlla province) as well as menari t’ori, though the features of menari t’ori are superior to those of yukchabaegi t’ori. Therefore, it is obviously false that the anjŭn'gut musical and cultural range of Taejŏn has been considerd as a part of menari t’ori range, and Song Sŏn-ja's music of shamanist chants has been regarded as the northern kyŏngt’ori. The false arguments of previous research reports was based upon false transcriptions of melodies and rhythms. It is inevitable that we should rethink the musical charac- teristics of shamanist sculptures chanting in anjŭn-kut of Taejŏn.
